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When an artist or band has a background which involves in part the Academy of Contemporary Music in Guildford, there is always an intrigue to learn more, partly because the town is a part of our musical heritage too and mostly because of some of the talent which has been nurtured at the ACM. From one of the UK’s most potent and impressive place of musical education, the likes of Newton Faulkner, Guy Davis who was part of the UK’s finest alternative rock antagonists Reuben, Joe Butterworth of Talanas, and Alexis Demetriou who formed the criminally unrecognised rockers Lost In Wonderland, have made varying impacting but potent marks on the British music scene. It is a long list also including members of Lawson and some bloke named Ed Sheeran, successes to which you can now add home town boys Following Foxes.

With its members all meeting at ACM, Following Foxes formed in 2013 and having a strong past year on the live scene now release their self-titled debut EP to nudge a broader attention to their presence. The five track release is a captivating introduction to the quartet, a handful of songs bred in a melodic caress of folk and indie/acoustic rock which energetically and skilfully bring a summery and creatively tenacious proposition to the senses. Drawing in inspirations from bands such as Biffy Clyro, Mumford & Sons, City and Colour, and Pink Floyd, Following Foxes shows themselves to be a thoroughly magnetic proposal and their EP more than likely to pick up wider media attention to back up already eager play on local radio stations across the South East of the UK.

The band’s new single, Almost Lost It is first up and right away with punchy bass lures from Mike Chapman and a great shuffle of beats within a caress of guitar, has ears and imagination paying close attention. The song relaxes soon after to welcome the strong vocals of Gid Sedgwick, his tones as warm and alluring as the melodic venture already shown by his and Alex Hill’s guitars. Subsequently with ears transfixed, another bait of thick beats from Steve Price adds fresh adventure before the song settles into a vibrant stroll loaded with a folkish revelry and melodic

Artwork by Harry Murr @ Roberts Clothing

swagger. There is still plenty of variety to gait and sound across the song though, sometimes more subtle than in others but a great unpredictable essence which grips the appetite and certain enjoyment.

The following I Saw, You Saw Me Back makes a less dramatic entrance though Sedgwick immediately holds court with his melodic croon and lyrical intimacy. It is still a strongly appealing first touch though which expands into a feisty but composed dance of voice and rhythms within a melodic seduction. As its predecessor, the track soon worms under the skin and into the psyche, a Lennon and McCartney whisper spicing part of the song whilst others times it romps along like a mix of Knots, Common Tongues, and The Radioactive Grandma.

Waiting for Someone, like those before it, simultaneously manages to be a warm reflective hug and a fiery little rocker, the great vocals across the band and occasionally a rigorously driving rhythmic thrust respectively igniting another memorable and increasingly enjoyable offering. It does not quite match up to the first pair such their might, but leaves satisfaction full before making way for Mother Brother. Though you cannot describe any of the songs as aggressive, there is a definite edge to the song when it steps up its energy around harmonically and melodically seductive embraces. It is a compelling end to a fine release; well not exactly an end as there is the brief melodic Outro to come but the party has ended by this point, its atmospheric haunting that drifting away of guests and excitement like after any slice of major fun.

Following Foxes has made a very impressive first step with a release which could straight away set them on a potent journey towards sparking the country’s attention. If not now it is impossible not to think or expect it will happen eventually but seems silly to wait, so go check out this highly pleasing release.

Formed three years ago, and coming at you from the South West, Oh Captive unleash a potent fusion of engaging alternative rock cuts stocked with forceful razor-sharp hooks that render them an instantly catchy listen. Already chalking up favourable comparisons to Biffy Clyro and Twin Atlantic, Oh Captive are set for new heights, and are loaded up with their killer new EP ‘Two Mirrors’, which hits stores this March.

The foursome’s national profile has rapidly increased during the past 12 months; this is largely down to their high work ethic and the success of the band’s debut EP, ‘Advance Creature’, which snared coverage from Rock Sound, Big Cheese, XFM and BBC Introducing, amongst others. Labelled ‘one of the UK rock scene’s biggest rising stars’ by Hit The Floor, Oh Captive have earned supporting slots with the likes of Marmozets and Arcane Roots, as well as festival appearances at Leopalooza and New Age.

The quartet headed into the studio last autumn to commence work on their next record. Entitled ‘Two Mirrors’, the EP is a real belter. Following on the foundations set by their debut record, the band have really pulled it out of the bag. Opener ‘Recover’ perfectly showcases the band’s enhanced penmanship with a hooky refrain and layered guitars that cunningly web together the track. The dynamic ‘Motion/No Motion’ delivers another anthemic chorus that clings to your head while ‘Live Fast Don’t Last’ highlights the rock crew’s growing maturity. Closer and namesake ‘Two Mirrors’ is further proof that Oh Captive have the tools and expertise to be one of the true players in 2015. Stay tuned to the band’s Facebook page for tour updates.

-OH CAPTIVE RELEASE ‘TWO MIRRORS’ ON MONDAY 23rd MARCH THROUGH ALL DIGITAL OUTLETS-

Spinning a web of varied and flavoursome enticements within their alternative metal bred imagination, UK band Apherium continue their potent emergence with the national reboot of latest EP Neoteric. Containing five tracks which not only reinforces the already established weight and creative invention of their sound but pushes it into an even more exploratory and expansive landscape, the release is a fascinating proposition which maybe does not light raging fires in the passions but certainly sets a lingering and brightly smouldering captivation.

Founded in 2011 whilst members were at college, the Yeovil quartet took little time to hone their intent and sound as shown by debut album The Cycle the following year, which itself followed a self-titled EP. Initially taking inspiration from early thrash and heavy metal, the band’s sound was swiftly evolving by their well-received full-length and even more so with the single Shadows which came out in 2013. It set a teaser for things to come and now explored fully through the Neoteric EP. There is an aggression and power to the release which has its seeds in the bands early days but also a melodic enterprise which revitalises influences found in the likes of Biffy Clyro, InMe, and more so we would suggest Funeral for a Friend. It is a tight and compelling mix which takes little time to thrill and persuade as the EP opens with New Light.

The first track shimmers with a crystalline stroke of a guitar crafted melody to awaken attention before a throaty bass lure aligned to thumping beats sets down its own imposing bait. To that there is an unexpected growl of electro tempting, though it is soon immersed in the full weight of the song’s intensity. A slip into a restrained stroll follows with the vocals of Larry Turner stepping forward, well backed by the supporting calls of the band, to join a pulsating funk kissed bassline from Callum Shortland. It is just another twist in the song though as it ignites again with a raw glaze of riffs from Turner and Ross Derby against imposing strikes from drummer Ashley Jones before a folk stomp of strings joins the raucous revelry, these provided by guest musician Joe Labanowski. It is a riveting proposition, as unpredictable as it is magnetic with the short bursts of returning electro deviltry and the progressive ambience that wraps around its climax more striking invention to the exciting opener.

Silver Tongues comes next with a forceful wall of caustic riffs hitting ears first, though they are entwined with rich sonic lacing and slow jabbing beats. A melodic relaxation emerges soon after with emotive expression from Turner’s vocals and narrative. The progressive endeavour of Derby infuses further rich colour to the song whilst backing vocal scowls and antagonistic rhythms leave an intimidation which nicely tempers the surrounding warmth. Though strings make an enthralling and potent addition to the skilfully sculpted song, it lacks the spark of its predecessor mainly because the bold invention and unpredictability of the first is missing here. Nevertheless it is a deeply pleasing encounter matched by Angels Of Our Nature. The third song merges choppy riffs and crisp rhythms into a weave of glowing harmonies and poetic melodies which engulf imagination and emotions with ease. There is also a drama to the sound of the song which again without quite finding the heights of the opener leaves a hunger in the appetite already woken by the EP.

That early single Shadows is next, a track which is a ball of fiery energy and aggressive intent yet unafraid to venture into reflective vocals and emotive melodic ideation. Cored by a tempest of outstanding rhythms from Jones and Shortland, there is a robust yet seductive intensity to the song and it is easy to see why it raised strong anticipation in so many for Neoteric as it makes a stirring addition to the increasingly impressing EP.

The release is closed by the emotionally intensive and melodically fired Rise Again, another track which is missing something compared to other songs on the release, yet with the skilled musicianship of the band casting a tapestry of sonic adventure over a cauldron of melodic passion, it is impossible not to immerse eagerly into its thoroughly satisfying embrace. That pretty much sums up the EP too, a truly enjoyable proposition which has moments of outstanding ingenuity within a perpetually rewarding canvas.

The potent ascent of UK alternative rock band Mind Museum continues unabated as they release their riveting new encounter, the One Blood EP. Since unleashing their attention grabbing debut EP Rat Race in 2011, the Bristol trio has continued to impress and outweigh other emerging bands with their weave of heart bred passion, riveting sounds, and gripping enterprise. Each release the band unveils takes their presence and reputation up another level and One Blood is no exception, the maturity in songwriting, sound, and simply presence mouthwatering.

Formed in 2010 from the ashes of several bands including most notably I AM THE DOOR and Full Scream Ahead, Mind Museum has persistently presented a proposition impossible to ignore or not find a deep rooted attraction for. Since forming the band has made as big an impact live as they have with their releases, sharing stages with the likes of Young Guns, Twin Atlantic, The King Blues, and The Royal Republic as well as lighting up their own headlining shows. Taking inspiration from bands such as Biffy Clyro, Coheed and Cambria, The Cure, and Placebo, the trio of vocalist/bassist Justin E Percival, guitarist Will Slater, and drummer Chas Bacon have honed a sound which holds a vague familiarity which makes it instantly accessible before taking the imagination and emotions on an incendiary ride of raw angst dripping vocals, rich sonic colour, and melodic passion. Their 2011 Rat Race EP made a potent entrance for the band, one just as powerfully backed up by The Power Of Three EP the following year but the George Lever produced new exploit immediately shows a big leap the band has taken from those earlier releases, confirming and expanding the promise and adventure hinted at by the 2012 single Lie To Me.

The release opens with The Get Go and immediately has a resonating bass note and a tart guitar wash soaking the ears whilst the already emotion drenched squalls of Percival wail in the back ground. As expected from the band on past experiences, it is a dramatic entrance but one which regroups into a restrained and melody kissed persuasion which still retains its raw edge but seduces rather than demands attention. It is a riveting enticement, the dark throat of the bass almost prowling the senses, though without menace, whilst guitars and rhythms keep imagination and appetite busy. Intensity and energy all the time are building their intent though, biding their time until the fiery chorus where everything is ablaze with passion and emotive colour. It is a thrilling encounter which finds a band never short on invention anyway, exploring and interlocking stronger varied textures and washes of sound than ever before. The song is thoroughly infectious and evocatively poetical, Percival’s vocals providing potent and at times emotionally desperate feeling hues to further light up the whole narrative.

The title track strides in next, bass and drums again casting a sinew built frame for the guitar and vocals to drape their emotive designs upon. The punchy touch of Bacon transfixes throughout, commanding the course of song and thoughts whilst the heavier rock bred veining from Percival sparks another level of greed for the extensive tapestry of the song. With its predecessor the song shows the full scope of the band, the first a more heads down rock attack and the second a pungent and intense emotional incitement; both soaked in a provocative passion and dramatic intimacy which inflames the thoughts and emotions of the listener.

Wake Up steps up next, throwing a towering heavy rock weight upon the senses before again flirting with reining in its assault. This is short lived though as the song erupts into an exhausting and scintillating fire of energy and sonic provocation, rhythms and riffs sculpting a tempest of blistering voracity and aggressive entanglement within, whilst all is flushed with the passion and emotive flames which marks out Mind Museum from the pack as much as their sound. It is an exhilarating song setting senses on edge for the next up Lie To Me to sooth and then inflame further. The song smoulders and nestles closely whilst digging in masterful sonic claws from Slater and rhythmic barbs from Bacon, and once entrenched exploding in a climactic fire. The song is one of those which lingers and returns long after it has made its last sear on the ears, a masterful puppeteer of memory and passions, much like most of songs to be fair.

Both Answers and All The Kings Men keep the temptations and impressiveness of the release foaming at the mouth, the first an initially mellow song but one which soon has its nostrils flaring as it aggressively croons and uncages another furnace of emotional and impacting sonic flames aligned to inciting vocals, and its successor a bewitching weave of choppy riffs and anxiety soaked vocals honed and fused to a virulently contagious blaze of imaginative and skilfully explored melodic causticity. It is a sensational conclusion to what is easily the most emotionally imposing and creatively explosive thing from Mind Museum, and the finest.

Actually it is not quite the finish of the EP as the band treat us to very engaging acoustic versions of Wake Up and Lie To Me, and a couple of remixes of The Get Go and One Blood by Icon Roller which are decent enough. Whether the four tracks are something you would return to time and again like the main body of the release commands is debatable but they make an enjoyable extra all the same.

As declared One Blood is Mind Museum at its most powerful and inventive yet plus their most insatiably imaginative, and you still feel there is so much more to come.

We first came across Chalkman Video through videos and a film they made with UK punk band The Vox Dolomites. It has been impossible not to be increasingly impressed at the discovery of more of their work and videos uncovered in our investigation. Wanting to learn more ourselves we thought we would bring you an insight into one of the emerging protagonists in music video by stealing time of and talking with the creator of those potent visuals.

Hello, welcome to the site and thanks for sharing time with us.

First question has to be just who is Chalkman?

Carl Arnfield, at first I didn’t want to be seen as a single person filming/editing, so I used a name to work behind, which means if other people are involved it’s still the name they see and not individuals.

What were your early inspirations growing up which you think led you into your love of and work with film?

It’s more to do with cameras and seeing the world via them in macro / wide angle / fish eye. I’m a nerd when it comes to cameras I love using them.

If I had to say what inspired me to see what is possible via film/cameras it was when a video company called “Sitcom Soldiers Ltd” filmed a band I was in and watching how they worked changed everything about how I work and create my videos…I owe them a massive thanks. They still help me with problems with lighting and understanding the process…Which proved to me that knowledge should be passed on and not kept jealously to ourselves. Everyone uses a camera in a different way so knowledge isn’t going to make people copy your work if you pass it on; it gives them a tool to create their own work.

When did you make the decision to try and make this art form your career?

It’s six years ago now when I couldn’t find anyone to make videos for my bands … so I started making my own videos, and then it was a logical step to create our bands videos.

You mentioned you were in a band, are you as able and talented with other art forms, music for example as behind the camera?

I play several instruments and a few people will be aware of the bands I’ve been in, but I guess most will not, so from punk to metal and all the way to electronica to folk, it’s all music to me and when you on stage you are performing no matter if it’s a guitar or mandolin.

We know you for your music videos, especially the excellent Vox Dolomites film which we will talk about later. Is there another angle to your portfolio, short films for example for us to discover?

Yes, I’ve done a few shorts, which is great fun and rewarding, and I’ve been talking to a few writers/actors about doing more to improve that area of film making.

The shorts are on my site.

You have filmed and directed music videos for bands such as Yo el Rey, Epic Problem, Juno, and of course as we mentioned The Vox Dolomites. How have these generally come about? Is word of mouth and recommendations still as potent as simply being noticed say online?

Yes it’s completely word of mouth. I think you are more likely to work with people that you have either seen work of and have someone say, “try this guy…. he did our video”

How do you approach music videos, do you have a general strategy?

Keep as simple really, talk to the band, see what the song is about, see if there is any chance of creating a look on an almost zero budget. Then see what’s left and work with that.

I imagine story/narrative wise around the song itself it is collaboration between band and you?

Yes, I always try and create a video the band will like, they are paying for it so it should be what they want otherwise they will not promote it.

Once you have found a person in the band with vision and find a way of telling them how filming works and what’s possible, you do come up with ideas of how you’re going to approach the shoot.

Some bands know just what they want from the get go … some do but you have to find out by knowing what they don’t want and narrowing it down that way.

Some bands (Vox Dolomites) just say do what you do…. and are happy with me creating something, they are very trusting.

How long does it take to prepare for a shoot from the crossing Ts and dotting Is to film day?

Well, months really, from the point the band contacts me, up until I start the shoot, making sure you write down all the shots you need as the main frame work, and then the little shots / angles to fill in the video

Let’s just say there are so many emails/Facebook messages regarding every detail of the idea

…And generally for the shoot itself?

If you have prepped well you know what the band want and if they are good like Juno and send me pics of the room they wanted to film in you know what to expect and it’s so much easier. Having a pro-active band is a massive help since I work alone and Juno were awesome to work with.

What we loved about your videos and style is that there is honesty to the camera work; you manage to get right into the heart and climate of the performance or story, in position and in colour/lighting. Is this something you deliberately aim for or simply a welcome by-product of other things?

I can honestly say, it’s just how I film, I love “depth of field” and when using a lens to blur out everything other than a face or a say an eye or a guitar part … you drag the viewer in as that’s all you can focus on.

I see things in “depth of field” and so I film that way, meaning I look at objects and blur out the rest of the world, so that’s how I film. I love strong colours and I’ve never been a big fan of that washed out film look like you’re seeing the world via a net curtain.

Do you have a core intent which spines every piece you work on?

I make notes of what I want to create or how I’m going to create the video and if you read them back months after I have finished the video it’s what I wrote down, so yes I think I do.

We earlier mentioned the brilliant Vox Dolomites, a band we love and you have made a few videos for. You made the riveting thirty minute film with the band of their Dirty Work Tour in Japan. How did that gig come about?

That all happened because Will, the guitar player said “you should come film it” as an off the cuff remark, and that was it, simple as that. Will is an enabler and he knows it, he also knows me and my love of travel, so it doesn’t take much for me to say yes to something like filming in Japan.

That was the biggest project to date for you?

Japan was one of the biggest things I’ve done, but last year 2013 I was in California filming a band called The Started-Its where I had to film their support slot to Barbwire Dolls and produce 3 promo videos as well in a matter of days

….and to make things worse/better I had to learn a couple of the songs and join them on stage for the last song on guitar and they refused to rehearse the songs with me… no pressure then!

How difficult were the logistics of the project alone to work out?

If you’re walking into a situation with a band you know, you are able to get things set up a lot quicker

But flying to a country like Japan and filming in venues in cities you don’t know and also record the audio for mixing later to be synced to your video …. I think it’s a logistical nightmare and I have to say I had sleepless nights for months before I got there.

But being pragmatic to say the least you try and work out everything that COULD go wrong and have a plan b (c, d & e) just in case.

Not just saying it to make you our friend ;) but it is for us one of the best tour videos in recent times, a film which not just shows the band but the atmosphere and passion created by the fans during and outside of the gigs themselves. I know the band is very popular in Japan but were you expecting to see such fervour personally?

Thank you, I’m very flattered that people like the work I do, being completely self-taught I self-doubt to whether I can achieve the goals I set for myself.

I was warned about Japan and how bands are accepted there and loved, but also it was overwhelming how some of the fans that travelled to a few of the gigs gave me gifts because I was with the band… just so welcoming, amazing people (stunning food as well)

There must be plenty of difficult moments and funny stories coming from not only that project but overall jobs, anything you would like to share with us? Any secrets?

What’s the old saying ….”what happens on tour stays on tour”

Is there any particular video or piece of film outside of the Vox Dolomites movie which you are most proud of?

Yes I’m really proud of the Randolph Swain & The Red Lights – Little House Video that I shot last summer in Manchester at 4.30am in an empty city centre.

I had to convince then that it’s all about the light and feel of an empty city … and being in the north of the UK its light very early in the morning in summer.

What is your latest project and what is up-coming in the world of Chalkman Video?

I’m going to be in San Francisco filming several bands including The Started-Its and a few I meet last time I was there.

Having stormed into 2014 with the release of their video single Themes Amongst Thieves, Southampton’s alternative rock sculpters Circle Of Reason announce live dates for their forthcoming Whatever’s Clever Tour.

With further UK tours and festival appearances still to be announced for this summer, Circle Of Reason will be bringing their rock show to northern England and Scotland this March. Frequently compared to musical giants such as QOTSA, Biffy Clyro, The Smashing Pumpkins, Coheed and Cambria and Deftones, Circle Of Reason’s prog-tinged hard rock riffs, intricate song dynamics and melodic vocals are gaining the band loyal followers world-wide. Building upon their reputation as one of Britain’s most exciting emerging new rock acts, Circle Of Reason have garnered early support from the likes of Kerrang! TV, Scuzz TV, Power Play & Big Cheese Magazine. With numerous UK Festivals and tours already under their belt, the South West UK quartet have previously earned their place on stage supporting the likes of InMe, Feed The Rhino, Landscapes, Neck Deep and many more

Reinforcing the success and presence of their recently released Chasing Sunsets EP, UK alternative rock band Jet Pack have added to its impressive persuasion with new single Heat Of The Moment. The second to be taken from their acclaimed EP, the track even away from the wrapping of its initial very potent appearance, leaves appetite and expectations for the band’s presence and future high and eager.

The Cheltenham quartet of vocalist/guitarist Dennis Cook, lead guitarist Paul Roberts, bassist Richard Beattie, and drummer Sam Haskins, came together in university and took little time but plenty of energy in sharing their melodic rock invention, shows alongside bands such as Hype Theory, General Fiasco, Attention Thieves, and Hildamay marking the way as well as acoustic slots supporting Blink 182, City and Colour, and Biffy Clyro. Chasing Sunsets has certainly taken awareness of the band to another level countrywide which you can only assume the single will give another dose of adrenaline to.

Heat Of The Moment makes a restrained yet fiery entrance, guitars coaxing out evocative melodies whilst the beats of Haskins punctuate their narrative with firm punches. The vocals of Cook make a smooth and expressive narrator for the lyrical emotion and with the great throaty tone of Beattie’s bass tempering the elegance and flaming invention of Roberts, it all combines for a smouldering slice of emotive pop which impresses and grows stronger with each impacting caress. Soaked in hungry but respectful intensity and melodic enterprise, the Matt O’Grady [You Me At Six, Deaf Havana] produced song is an appealing simmering temptation.

Accompanied by a directed Ant Thornton video and followed by a string of dates with Conduit, The Heat of the Moment confirms Jet Pack as one of the more promising and exciting melodic rock/pop bands to have emerged in recent times. We await the next unveiling from the band with keen anticipation.

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